{"@context":"http://iiif.io/api/presentation/3/context.json","id":"https://arsc.aviaryplatform.com/iiif/4x54f1p675/manifest","type":"Manifest","label":{"en":["The Art of Henri Temianka: Virtuoso Violinist, Conductor, Author and Educator"]},"logo":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/019/original/ARSC_Full_Logo_RGB_K.jpg?1605438091","metadata":[{"label":{"en":["Agent"]},"value":{"en":["John Haley (Presenter)","Joseph Patrych (Videographer)","James Wu (Editor)"]}},{"label":{"en":["Date"]},"value":{"en":["2019-12-19 (Created)"]}},{"label":{"en":["Format"]},"value":{"en":["Video"]}},{"label":{"en":["Description"]},"value":{"en":["\u003cp\u003eAs demonstrated by his recordings, Henri Temianka (1906-1992) was one of the finest violinists of the 20th Century. Born in Greenock, Scotland of immigrant Polish Jewish parents, he studied violin with Carol Blitz in Rotterdam, Willy Hess in Berlin, Jules Boucherit in Paris, and finally Carl Flesch at the Curtis Institute in Philadelphia. In 1930, Temianka was in the first Curtis graduating class, earning a double degree in violin and conducting, having studied the latter with Artur Rodzinski. As a violinist he was further influenced by Eugène Ysaӱe, Jacques Thibaud and Bronisław Huberman. Flesch referred to him as possessing “both musically and technically, … a model collection of talents.” After a brilliant debut in New York in 1928 (which Olin Downes described as “one of the finest accomplishments in years”), Temianka returned to Europe and rapidly established himself as one of that era’s foremost concert violinists, appearing with major orchestras in Europe and the U.S. under such conductors as Pierre Monteux, Sir John Barbirolli, Sir Adrian Boult, Fritz Reiner, Sir Henry Wood, George Szell, Otto Klemperer, Dimitri Mitropoulos and William Steinberg. In 1935 he took third prize in the legendary first Henryk Wieniawski Violin Competition in Warsaw, behind David Oistrakh in second place and Ginette Neveu (another Flesch pupil) in first place. This resulted in a lifelong close friendship with Oistrakh. Temianka performed with Benjamin Britten, Sergei Prokofiev and Ralph Vaughan Williams in their own works, moving to the U.S. before World War II, eventually settling in Los Angeles. In 1946, with cellist Robert Maas, previously of the famous Pro Arte Quartet in Europe, Temianka formed the Paganini Quartet, so called because a quartet of outstanding Stradivari instruments that had been owned by Niccolò Paganini were provided for their use. The Paganini Quartet was one of the greatest string quartets of the 20th Century, signed by RCA Victor to compete with the Budapest Quartet on Columbia Records. It lasted until 1966, after which Temianka focused on forming and conducting the California Chamber Symphony in Los Angeles and several outstanding series of chamber music concerts, while continuing to maintain his playing as a virtuoso violinist at the highest level well into his 80s. An avid chamber music player, Temianka hosted frequent private musical evenings in his Los Angeles home, playing with the likes of Yehudi Menuhin, Jascha Heifetz, Isaac Stern, Joseph Szigeti, David Oistrakh, Henryk Szeryng, Leonard Pennario, William Primrose, Gregor Piatigorsky, Jean-Pierre Rampal and other luminaries. The program will feature rare live and commercial recordings, restored by the presenter, of Temianka (including with Paganini Quartet) throughout his long career, demonstrating a musical sophistication, technical command and virtuoso technique achieved by few violinists of any era.\u003c/p\u003e\r\n\u003cp\u003eJohn H. Haley of Harmony Restorations, LLC is an audio restoration engineer and ARSC member of many years who has served as Editor, Sound Recording Reviews of the ARSC Journal since 2012. He is a retired commercial attorney with a lifelong interest in both classical and popular music, holding a Bachelor of Music from University of North Texas with concentration in voice and piano. While in college he was a professional chorister of the Dallas Civic Opera. Since 1987 he has served as a Board Member of the Bel Canto Institute, an organization that teaches bel canto opera style to young singers every July in Florence, Italy, serving as President of the Board since 2005. Recent published CD restoration projects include the acclaimed William Kapell: Live Performances: Three First Releases (“remarkably satisfying sound … the remastering has been done at the highest level …”, Henry Fogel, Fanfare); Marian Anderson: Let Freedom Ring!, presenting the first ever restoration of Anderson’s famous 1939 concert on the steps of the Lincoln Memorial (“This release of the first-ever restoration is miraculous, owing to the skill of John H. Haley …”, Ira Siff, Opera News); and Judy Garland: Lost Tracks 2 (“…restoration engineer John H. Haley has done his customary superlative job bringing sonic consistency and a surprising fidelity to these tracks.” Joe Marchese, The Second Disc).\u003c/p\u003e"]}},{"label":{"en":["Publisher"]},"value":{"en":["Association for Recorded Sound Collections"]}},{"label":{"en":["Rights Statement"]},"value":{"en":["\u003cp\u003eCopyright Association for Recorded Sound Collections\u003c/p\u003e"]}}],"summary":{"en":["\u003cp\u003eAs demonstrated by his recordings, Henri Temianka (1906-1992) was one of the finest violinists of the 20th Century. Born in Greenock, Scotland of immigrant Polish Jewish parents, he studied violin with Carol Blitz in Rotterdam, Willy Hess in Berlin, Jules Boucherit in Paris, and finally Carl Flesch at the Curtis Institute in Philadelphia. In 1930, Temianka was in the first Curtis graduating class, earning a double degree in violin and conducting, having studied the latter with Artur Rodzinski. As a violinist he was further influenced by Eug\u0026egrave;ne Ysaӱe, Jacques Thibaud and Bronisław Huberman. Flesch referred to him as possessing \u0026ldquo;both musically and technically, \u0026hellip; a model collection of talents.\u0026rdquo; After a brilliant debut in New York in 1928 (which Olin Downes described as \u0026ldquo;one of the finest accomplishments in years\u0026rdquo;), Temianka returned to Europe and rapidly established himself as one of that era\u0026rsquo;s foremost concert violinists, appearing with major orchestras in Europe and the U.S. under such conductors as Pierre Monteux, Sir John Barbirolli, Sir Adrian Boult, Fritz Reiner, Sir Henry Wood, George Szell, Otto Klemperer, Dimitri Mitropoulos and William Steinberg. In 1935 he took third prize in the legendary first Henryk Wieniawski Violin Competition in Warsaw, behind David Oistrakh in second place and Ginette Neveu (another Flesch pupil) in first place. This resulted in a lifelong close friendship with Oistrakh. Temianka performed with Benjamin Britten, Sergei Prokofiev and Ralph Vaughan Williams in their own works, moving to the U.S. before World War II, eventually settling in Los Angeles. In 1946, with cellist Robert Maas, previously of the famous Pro Arte Quartet in Europe, Temianka formed the Paganini Quartet, so called because a quartet of outstanding Stradivari instruments that had been owned by Niccol\u0026ograve; Paganini were provided for their use. The Paganini Quartet was one of the greatest string quartets of the 20th Century, signed by RCA Victor to compete with the Budapest Quartet on Columbia Records. It lasted until 1966, after which Temianka focused on forming and conducting the California Chamber Symphony in Los Angeles and several outstanding series of chamber music concerts, while continuing to maintain his playing as a virtuoso violinist at the highest level well into his 80s. An avid chamber music player, Temianka hosted frequent private musical evenings in his Los Angeles home, playing with the likes of Yehudi Menuhin, Jascha Heifetz, Isaac Stern, Joseph Szigeti, David Oistrakh, Henryk Szeryng, Leonard Pennario, William Primrose, Gregor Piatigorsky, Jean-Pierre Rampal and other luminaries. The program will feature rare live and commercial recordings, restored by the presenter, of Temianka (including with Paganini Quartet) throughout his long career, demonstrating a musical sophistication, technical command and virtuoso technique achieved by few violinists of any era.\u003c/p\u003e\r\n\u003cp\u003eJohn H. Haley of Harmony Restorations, LLC is an audio restoration engineer and ARSC member of many years who has served as Editor, Sound Recording Reviews of the ARSC Journal since 2012. He is a retired commercial attorney with a lifelong interest in both classical and popular music, holding a Bachelor of Music from University of North Texas with concentration in voice and piano. While in college he was a professional chorister of the Dallas Civic Opera. Since 1987 he has served as a Board Member of the Bel Canto Institute, an organization that teaches bel canto opera style to young singers every July in Florence, Italy, serving as President of the Board since 2005. Recent published CD restoration projects include the acclaimed William Kapell: Live Performances: Three First Releases (\u0026ldquo;remarkably satisfying sound \u0026hellip; the remastering has been done at the highest level \u0026hellip;\u0026rdquo;, Henry Fogel, Fanfare); Marian Anderson: Let Freedom Ring!, presenting the first ever restoration of Anderson\u0026rsquo;s famous 1939 concert on the steps of the Lincoln Memorial (\u0026ldquo;This release of the first-ever restoration is miraculous, owing to the skill of John H. Haley \u0026hellip;\u0026rdquo;, Ira Siff, Opera News); and Judy Garland: Lost Tracks 2 (\u0026ldquo;\u0026hellip;restoration engineer John H. Haley has done his customary superlative job bringing sonic consistency and a surprising fidelity to these tracks.\u0026rdquo; Joe Marchese, The Second Disc).\u003c/p\u003e"]},"requiredStatement":{"label":{"en":["Attribution"]},"value":{"en":["\u003cp\u003eCopyright Association for Recorded Sound Collections\u003c/p\u003e"]}},"provider":[{"id":"https://arsc.aviaryplatform.com/aboutus","type":"Agent","label":{"en":["Association for Recorded Sound Collections"]},"homepage":[{"id":"https://arsc.aviaryplatform.com/","type":"Text","label":{"en":["Association for Recorded Sound Collections"]},"format":"text/html"}],"logo":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/019/original/ARSC_Full_Logo_RGB_K.jpg?1605438091","type":"Image"}]}],"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/257/080/small/ARSCNY_20191219_Haley_thmb.jpg?1732460861","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/2105/collection_resources/138680/file/257080","type":"Canvas","label":{"en":["Media File 1 of 1 - THE_ART_OF_HENRI_TEMIANKA__VIRTUOSO_VIOLINIST__CONDUCTOR__AUTHOR__EDUCATOR_presented_by_John_Haley.mp4"]},"duration":5632.51083,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/257/080/small/ARSCNY_20191219_Haley_thmb.jpg?1732460861","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/2105/collection_resources/138680/file/257080/content/1","type":"AnnotationPage","items":[{"id":"https://arsc.aviaryplatform.com/collections/2105/collection_resources/138680/file/257080/content/1/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-arsc.s3.wasabisys.com/collection_resource_files/resource_files/000/257/080/original/THE_ART_OF_HENRI_TEMIANKA__VIRTUOSO_VIOLINIST__CONDUCTOR__AUTHOR__EDUCATOR_presented_by_John_Haley.mp4?1732460590","type":"Video","format":"video/mp4","duration":5632.51083,"width":640,"height":360},"target":"https://arsc.aviaryplatform.com/collections/2105/collection_resources/138680/file/257080","metadata":[]}]}],"annotations":[]}]}